|Home||Donate | Store | Blog | FAQ | Jobs | Volunteer Positions | Contact | Bios | Forums | Projects | Terms, Privacy, & Copyright|
|Anonymous User (login or join us)|
|Poster:||dead-head_Monte||Date:||Jan 23, 2012 6:52am|
|Forum:||GratefulDead||Subject:||Re: Taper's Compendium Panel sign-up sheet|
I have produced a prototype model of a Taper's Compendium for The Archive. Thank You to Charlie Miller, The Tapers, The Archive, and eTree.
The Archive rolled out a new Embedded video/audio Flow Player on Jan 18, 2012. Here is The Archive's technical discussion thread for the new flow player. Some really nice features:• a more robust player than the current one
• better sharing to Facebook and Twitter (which works for off-site embed codes)
• better and richer "embed" codes, (using iframes) that work on iOS and non-flash devices
• ability to embed playlists off-site
• fullscreen for many browses for off-site embedded archive videos
Here is one of my Taper Compendium hybrids for you. The Archive's embedded Flow Player is the key component.
This web page rendering is based upon my concepts, templates, and layouts. The taper profile demo is a profile of myself. This hybrid model was developed, designed, created, and produced by Monte Barry over the past four years.
• photos were added, and italicized notations were made, by Monte Barry on Jan 22, 2012
• this document, and all its hyperlinked files, are for Research Purposes ONLY
John Lawless | February 18, 2009 | Bluegrass Today dot com article
Another major benefit concert is scheduled for March 20, 2009 in Louisville, KY. The show is intended to mark 2009 as the 40th anniversary of newgrass music, and the crucial role that Louisville played in its birth and development.
In fact there is much more than just a concert in store for the Ruby celebrations. A documentary DVD, audio CD/LP and a coffee table book are all scheduled for a fall ’09 release centered around The Bluegrass Hotel, an informal bluegrass rooming house for L’ville grassers in the 1970s.
The Hotel is a large Victorian-era home in the Cherokee Park neighborhood, not far from downtown Louisville. The house is and was then owned by Harry Bickel, who offered rooms at attractive rates to bluegrass musicians in the area.
One of those who stayed there in the ’70s was Bill Millet, former banjo picker with The Bluegrass Alliance who works now as a music producer. In addition to touring widely, this group served as an internship for young, progressive bluegrass pickers at that time. Other members during that period include Sam Bush, Tony Rice, Dan Crary, Vince Gill, Curtis Burch and Courtney Johnson. [Sam Bush and Tony Rice are filmed playing together in this YouTube clip of Bluegrass Alliance band in 1971.]
In fact, Newgrass Revival got its start [in 1971] when the four original members (Bush, Johnson, Burch and Ebo Walker) left Bluegrass Alliance to launch the Revival after a simmering feud developed between the four of them and band leader Lonnie Peerce. [The Newgrass Revival were based out of Bowling Green, Kentucky.]
Bill Millet grew up in Texas, but found himself living in Louisville when he took the Alliance gig:
“I was the first resident of The Bluegrass Hotel in 1975."
"Harry Bickel bought his huge house in 1975 and initially needed boarders to offset expenses. They were mostly comprised of members of The Bluegrass Alliance and other related pickers that Harry knew and trusted. Harry Sparks had an instrument repair shop set up in the basement which attracted Sam Bush, J.D. Crowe and others, because Sparky was their luthier/repairman of choice.”
Doc Hamilton, Sparky (Harry Sparks), Harry Bickel
(Looks like the day I moved in there in 1975) - photo provided by Bill Millet
[Doc Hamilton was the 2nd resident in 1975. Monte Barry was the 3rd resident in 1975. Monte had been working as a soundman for the Country Comfort bluegrass band in northeast Tennessee. Monte Barry was the taper and soundman at Bickel's place. He was the soundman for the Bluegrass Alliance and Lazy River bands. Monte was also working as a videotape operator at a TV station in Louisville.]
[Vince Gill was the 4th resident in 1975. Vince moved into Bickel's place when he took Millet's invitation to join The Bluegrass Alliance. Vince Gill replaced Bluegrass Alliance's outgoing Glenn Lawson. Glen joined J.D. Crowe's bluegrass band, also based out of Kentucky.]
[Several months later Ricky Skaggs formed a Newgrass band named Boone Creek. Jerry Douglas joined the band. They were based out of Lexington, Kentucky. Vince Gill left Bluegrass Alliance and joined Boone Creek. Soon after, Boone Creek went to Nashville and recorded their first album. Then Boone Creek came home to Kentucky. Newgrass Music lovers in Louisville were treated to Boone Creek's album debut performances. They played several weekday-nights in a row at The Holiday Inn in Louisville. Monte Barry and several Bluegrass Alliance pickers showed up early together at Boone Creek's first Holiday Inn show.]
[Monte Barry asked Ricky Skaggs for a soundboard feed and permission to tape record their Boone Creek performance. Ricky Skaggs plugged my tape deck into his SBD.]
[Note that Cindy Baucom has given permission for my Boone Creek tapes to be circulated. She makes this declaration in her Review.]
[Vince Gill left Boone Creek a few months later and rejoined Bluegrass Alliance. Monte Barry and Vince Gill were roommates together at one point. They shared their own apartment together nearby Bickel's place.]
Bill recalls paying $45 each month, plus a share of utilities for his room. Other notable pickers who stayed during the 70s include Tony Rice, Béla Fleck, Jerry Douglas, J.D. Crowe, Doyle Lawson, Tony Williamson, and Jack Lawrence.
The home is now a private residence, as Harry’s wife Ann chased off all the pickers when they married in 1981.
When the 40th anniversary of newgrass drew near in 2008, [and after Monte Barry had contacted John Jump and Bill Millet in early 2008] Millet and others started the preparations to mark the milestone. Footage was shot in Nashville during IBMA 2008 of the various Bluegrass Hotel alumni recalling stories of their time in Louisville, and some impromptu jamming. Plans were laid for the March 2009 concert in Louisville at The Galt House – the former home of the annual IBMA convention on “the banks of the Ohio.”
Belle of Louisville - next to The Galt House - Dec 14, 2008
Bluegrass Hotel All Stars - photo provided by Bill Millet
L to R: [cameraman] Tony Rice, John Cowan, Sam Bush, Curtis Burch, J.D. Crowe, Dan Crary
This concert will also be filmed for the DVD, co-produced with Kentucky Educational Television (KET).
The March 20, 2009 concert is open to the public, and will be centered on an all-star band performance featuring Sam Bush, Curtis Burch, John Cowan, J.D. Crowe, Tony Rice and Dan Crary. A great many former members of Newgrass Revival and The Bluegrass Alliance will also make appearances on the show, including Danny Jones, Buddy Spurlock, Tony Williamson, Jack Lawrence, Al White, Harry Bickel, Steve Cooley, Glenn Lawson, Marshall Billingsley, Chuck Nation, Bob Briedenbach, Thayne Bradford, Danny Wiley, Keith and Darrell Sanson, Bill Millet, John Jump, Robert Pool, Marty Townsend, Dennis White, and others.
All proceeds from the concert will go to benefit the American Cancer Society. Special package rates are available through February 20 for tickets and accommodations at The Galt House.
Following the concert, Millet and fellow former Alliance member and Bluegrass Hotel resident John Jump will produce an audio CD with the all-star hotel pickers. Details are scant at this time, but Bill says that it will consist of new songs written by John Cowan, Dan Crary, J.D. Crowe, Sam Bush and Curtis Burch.
Jump is also a successful record producer and former exec at MCA. Sam Bush will also be a co-producer. The recording will be released on a Universal Music Group imprint.
Both the finished CD/LP and the concert DVD are expected to hit during this year’s IBMA World Of Bluegrass convention in Nashville (9/28-10/4). As will a coffee table book written by Harry Bickel, who has also compiled photos from the years he ran his rooming house.
[To the best of my knowledge, nothing from The Bluegrass Hotel has been publicly released. Someone released this short YouTube clip showing HD video of the Bluegrass Hotel all-stars performing Some Ole Day at the Rudyard Kipling club on Dec 14, 2008.]
Harry Bickel was interviewed in December 2008 by Elizabeth Kramer of WFPL, Lousiville’s NPR station:
[Narrator speaking] "In the 1970s, America was swept up in a counterculture movement — and so was Bluegrass music. The epicenter for that music was in Louisville’s Cherokee Triangle neighborhood and now it’s the subject of a new documentary. WFPL’s Elizabeth Kramer reports."
This 100-year-old, Victorian, red-brick mansion with its small porch and bay windows is on a quiet street next to Cave Hill Cemetery. It’s a fairly unassuming home today. But during the 1970s, it was the Bluegrass Hotel.
"When I bought the house in 1975 and guys from the Bluegrass Alliance started living here, then this became the center of the whole thing," says Harry Bickel, a Bluegrass fan and banjo player.
The Bluegrass Alliance in 1975 L to R - photo provided by Bill Millet
Bill Millet (banjo, guitar)
Vince Gill (guitar, dobro)
Lonnie Peerce (fiddle)
Al White (mandolin)
Marshall Billingsly (bass)
(Glenn Lawson had just left Bluegrass Alliance, going to J.D. Crowe's band. Vince Gill replaced him.)
He owns the house, and “the thing” he’s talking about is a time when something called “New Grass” music was taking root. The Bluegrass Hotel was an informal boarding house for musicians, including members of the Bluegrass Alliance, a band that helped launch the careers of Vince Gill and mandolin player Sam Bush. They’d jam in the cavernous rooms on the first-floor and in the smaller bedrooms upstairs.
“This is where guys would practice their music,” he says in an upstairs room. ”And there was a big sideboard over there, and we had all the stereo equipment there, and headphones and all that kind of stuff. So guys would sit here all day long practicing sometimes with tapes. And we’d jam up here some.”
Bickel says there were always musicians coming and going. Many paid upward of $35 a month — plus utilities. Others came with bands on tour and would crash for a few nights. There was a lot of beer flowing in those days and several eating contests involving White Castle hamburgers. Bickel says some mornings he woke up to find a dozen musicians sleeping on his living room floor.
Sam Bush says he remembers playing at the house day and night.
“To this day I don’t know if I’ve ever seen any healthier or, you know, more outgoing music scene than Louisville used to have,” Bush says.
The music scene included J.D. Crowe and the New South and rock bands NRBQ and Dusty, with Louisville native Tim Kreckel. And it influenced the music played at Bickel’s house. The musicians began adapting songs to Bluegrass from other genres. They played “Great Balls of Fire” and Paul Anka’s “It Doesn’t Matter Anymore.” Other genres also inspired New Grass Revival, a group of former Alliance members that formed in ‘71.
It was the New Grass Revival that helped introduce Bluegrass to a broader audience, says Neil Rosenberg who wrote “Bluegrass: A History.”
“They did a lot of things with their music that other people hadn’t tried in terms of arrangements and textures,” Rosenberg says. “They really brought more to the palette than had been there before. And they became role models for a lot of younger musicians.”
The music played by Bush and his cohorts — along with their long hair — caused a ruckus in the Bluegrass world. The Father of Bluegrass music, Bill Monroe, said he would never book them at his Bean Blossom Bluegrass Festival in Indiana. But this up and coming class of musicians were welcomed at other festivals, where they performed original songs and covers of popular hits, including the anti-war song “One Tin Soldier.”
Through the 1970s and ‘80s, the music caught on with crowds outside of Bluegrass world and with notable artists, including The Grateful Dead, Emmylou Harris and Lyle Lovett.
Through those years, Harry Bickel always welcomed them at his home.
Now, the history of the Bluegrass Hotel and its role in the birth of New Grass music is the subject of a film project with Kentucky Educational Television and PBS. Last week, producers and cameramen were in The Bluegrass Hotel filming interviews with Bickel and musicians with ties to the place. The documentary is slated to air next winter.
The Bluegrass Hotel Project will donate all the royalties from the sales of the book, DVD, CD and LP to the IBMA Bluegrass Trust Fund, and to establish a permanent Newgrass-era collection and exhibit.
We’ll have more about these various Bluegrass Hotel projects as the release date draws near. Details are posted on The Bluegrass Hotel web site. [At one point, Monte Barry was the web master for the Bluegrass Hotel dot com web site.]
Rudyard Kipling club - Dec 14, 2008 - photo provided by Bill Millet
L to R: Dan Crary, Sam Bush, John Cowan, J.D. Crowe, Tony Rice
Re: my "protégé taper" and this historic performance
• Is there an AUD of this show?
• John Cowan sings Good Woman's Love - Dec 14, 2008
Reference Materials for taper Monte Barry
• Monte's story taping GD shows in 1973 - an Orgy of Sound
• Monte taped many hours of guitarist John Zias in 1973
• Monte taping the Stoney Creek bluegrass band from New Jersey in 1974
• Sam Bush Collection - LMA
• John Cowan Collection - LMA
• Béla Fleck and The Flecktones Collection - LMA
• Monte is busted sharing Newgrass music! - Festivarian Forum, Planet Bluegrass
• Lazy River Collection taped by Monte in 1976 - LMA, created by Monte Barry
• Vassar Clements boxed set - middle 1970s taped by Monte - The Archive
• Sam Bush boxed set - middle 1970s taped by Monte - The Archive
• Vince Gill boxed set - middle 1970s taped by Monte - The Archive
• Scotty's Music - 1976 Int'l Steel Guitar Convention taped by Monte - The Archive
• Arabesque band Collection taped by Monte in 1980 - LMA, created by Monte Barry
• Monte's Taper Handbook for The Internet Archive
• Monte's "taper resume" for The Archive
• Owsley "Bear" Stanley interview with David Gans on 1991-01-13
• Cc: Taper Compendium doc @ Festivarian Forum - Taper Section, Planet Bluegrass
Americana is what I taped
Monte B Cowboy
Greg Harrington: "Jerry, not many bands, if any, aside from The Dead allow people in to tape record their concerts. [Jer agrees: "ah-huh"] And it's something that The Dead have always done. [Jer: "yeh"] And, what are your feelings along this line? It brings a lot of joy to a lot of people."b) Jer's Newgrass tapes with Dawg • Muleskinner's Newgrass tapes with Dawg • 1973Tony Rice, guitarist - article by Caroline Wright
Jerry Garcia: "Well my feelings are the music is for the people. You know, it's like ahh... I mean after it leaves our instruments, it's of no value to us. You know what I mean? It's like, what good is it? So it might as well be taped, my feeling is. And if people enjoy taping it, and enjoy having the tapes to listen to, that's real great.
I can sympathize with it, because I used to do a lot of taping myself when I was in a Bluegrass band. I went out of my way to tape shows, and I know what that's like. And since what we do is live music, I mean that's ahh..."
Greg Harrington: "Well I think the tapes really capture the magic of the band."
Jerry Garcia: "Well, that's what everybody says. That's why people tape, you know. So I certainly can't fight with that, you know. I don't understand why people would object, you know. That's the way I feel about it."
"When Rice bursts out of a chorus with a startling run in the middle of Mississippi John Hurt's "Louis Collins," you can hear all three musicians [Grisman, Garcia, and Rice] stop and catch their breath." — Seth Mnookin, writing about The Pizza Tapes, on Salon dot com, April 2000d) WFPL's Elizabeth Kramer interviews Harry Bickel at the Bluegrass Hotel - 4:15, MP3
Dawg • Tony • Jer
Superpickers and Tony singing "Me and My Guitar" at The Birchmere:
Superpickers AUD Taped by Med at The Birchmere on April 11, 1989
Source: Beyer M201s > Sony D5 > Maxell MX90 cassettes
Tony Rice - Guitar-Vocals
Sam Bush - Mandolin-Fiddle-Vocals
Béla Fleck - Banjo
Jerry Douglas - Dobro
Mark Shatz - Upright Bass
with special guest, Allison Krauss - Vocals-Fiddle
Me and My Guitar // - vbr mp3, 15:24
Please download and purchase iTunes, e-Books, hard copy books, movies, records, albums, LPs, CDs, DVDs, and all forms of commercial media from these musicians, artists and bands. Try your best to see them perform at concerts, festivals, shows, clubs, and other venues. This is the best way to thank them for sharing their live music tapes with us.
The Taper's Compendium Panel must have "an ambassador of Taper Permissions" on The Panel. Under the auspices of the legal team and assignment editor, this duty will be shared by the PR Director and the Communications Director. Tapers need your assistance! We need more vintage recordings from Tapers going into the Live Music Archive collections.
Wake of The Flood
June 9 & 10, 1973
Flying Fish Records album
April 7, 1974
|Central Park Sheiks|
Honeysuckle Rose album
May 15, 1974
artists taped have albums
July 20, 1974
Hillbilly Jazz album
April 4 & 5, 1975
Kentucky Blue album
Sept 23, 1975
Fly Through the Country
Sept 28, 1975
artists taped have albums
March 15, 1976
artists taped have albums
Vince Gill mode - 1976
artists taped have albums
Mark O'Connor mode - 1976
|Steel Guitar Convention|
artists taped have albums
Labor Day wknd 1976
artists taped have albums
Oct 25, 1976
artists taped have albums
July 31, 1980 — Oct 25, 1980
|Van Manakas quartet|
Love Songs album debut
March 1, 1984
If you do not agree to these terms, please do not use the Archive’s Collections or its Web site (the "Site").
Some of the content available through the Archive may be governed by local, national, and/or international laws and regulations, and your use of such content is solely at your own risk. You agree to abide by all applicable laws and regulations, including intellectual property laws, in connection with your use of the Archive. In particular, you certify that your use of any part of the Archive's Collections will be noncommercial and will be limited to noninfringing or fair use under copyright law. In using the Archive's site, Collections, and/or services, you further agree (a) not to violate anyone's rights of privacy, (b) not to act in any way that might give rise to civil or criminal liability, (c) not to use or attempt to use another person's password, (d) not to collect or store personal data about anyone, (e) not to infringe any copyright, trademark, patent, or other proprietary rights of any person, (f) not to transmit or facilitate the transmission of unsolicited email ("spam"), (g) not to harass, threaten, or otherwise annoy anyone, and (h) not to act in any way that might be harmful to minors, including, without limitation, transmitting or facilitating the transmission of child pornography, which is prohibited by federal law and may be reported to the authorities should it be discovered by the Archive.
You agree that we may contact you from time to time with surveys or other questions regarding your opinions about and uses of the Archive, as well as with information we believe may be of interest to you. We encourage you to respond to these surveys because we value your input, which will assist us in improving the Archive. In addition, we request that, according to standard academic practice, if you use the Archive's Collections for any research that results in an article, a book, or other publication, you list the Archive as a resource in your bibliography.
While we collect publicly available Internet documents, sometimes authors and publishers express a desire for their documents not to be included in the Collections (by tagging a file for robot exclusion or by contacting us or the original crawler group). If the author or publisher of some part of the Archive does not want his or her work in our Collections, then we may remove that portion of the Collections without notice.
The Archive may immediately terminate this Agreement at its sole discretion at any time upon written notice (including via email) to you. Upon termination, you agree that the Archive may immediately deactivate any password it has issued to you and bar you from accessing the Collections or the Site.
The Archive may modify this Agreement from time to time, and your continued use of the Collections and/or the Site constitutes your acceptance of any and all modifications. The Archive will attempt to notify you of substantial modifications via the email address that you have registered with us, if any.